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▄▓█████████▓▓█▀ ▀▀▀▓██▓▌
░ ▓█████████▓▓█▀ [ J U S T F U N . P R E S E N T S ] ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
░ ▓████▓▌ ░ Artist.......: Herbie Hancock ▐▓▀▀
▓ ▐█████▓█ Album........: RTL Jazz Collection ▀ ░
▀█▄▓████▓▓▄█▀ Genre........: Jazz ░▓ ▌
▄▀██▓██▓▓▀ Language.....: English ░▓░▐▓
▓▓▄▀█▓▓▓▀ Label........: Blue Note ░▓░ █▓▌
▐█▓▓ ▀▓ Catnr........: n/a ░▓▓▓ ▐█▓▓
▓█▓▌ URL..........: n/a ▓░ ███▓▓[z0o]░
▐██░ ░ ░ ▄ ░▄▄▄▄▓▄▄▓████▓▓▄▄▄▄▓▄▄
▀▓█░▄ ▌ ░▓░ [ R E L E A S E . I N F O ] ▓░ ▓▀▓█████████████▓▓▓▀
░ ▀▀▓█▄▐▓ ░▓▓▓░ ░▓▓▓░ ░ ▀▓██████▓██▓▓▀ ░
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░▓▓░ ▐█▓▓ ░ ░▓▓░ source......: CDDA ░▓▓ ▐███████▓▓▌ ░
░░ ███▓▓ ▓▓░▓░ playtime....: 52:09 min ░▓▓░ ▓███▀ ▀▓█▓▓ ░
▄▄▄▄▄▓▄▄▓████▓▓▄▄▄▄░▄▄ rip.date....: Apr-03-2004 ▓ ▐█▓▀ ░ ░▀█▓▌
▀▓█████████████▓▓▓▀ str.date....: Mar-30-2004 ░▓░ █▀ ░░▓▓▓ ▀▓
░ ▀▓██████▓██▓▓▀ ▓░ ripper......: JusT TeaM ▓▓ ▀░ ░ ░ ░▓░ ░▀
▀▓█████▓▓▓ ░░▓ grabber.....: EAC v.0.95 prebeta 4 ░▓▓░▓▓▓▓ ▓▓▓░
░ ▐███████▓▓▌░▓▓▓░ encoder.....: LAME v.3.90.3 Modified ░▓▓▓▓▓ ▓░▓▓░░ ░
▓███▀ ▀▓█▓▓ ▓░░ size........: 76,8 MB ░▒░ ░▓░ ░
▐█▓▀ ░░ ▀█▓▌░ quality.....: VBR/44,1Hz/Joint-Stereo ░ ▒
█▀ ░▓▓▓▓░ ▀▓ ░ ░ ░
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░ ▄█▒████████▓▓▀ ▀▓██▓███▓▄
▄▓██░██████▓▓█▀ [ T R A C K . L I S T I N G ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ ██▓▓█▀▀
▓████▓▌ ░ track title time ▐▓▀▀
▓████▓▌ ▀ ░▌
▓████▓▌ 01. Watermelon Man 07:14 ▓▌
▓████▓▌ 02. And What If I Don't 06:35 ▓▌
▓████▓▌ 03. Dolphin Dance 09:21 ▓▌
▓████▓▌ 04. Jack Rabbitt 06:02 ▓▌
▓████▓▌ 05. Theme From "blow Up" 08:10 ▓▌
▓████▓▌ 06. The Maze 06:51 ▓▌
▓████▓▌ 07. Promise Of The Sun 07:56 ▓▌
▓████▓▌ ▓▌
▓████▓▌ [ A B O U T . T H i S . R E L E A S E ] ▓▌
▓████▓▌ ▓▌
▓████▓▌ Herbie Hancock will always be one of the most ▓▌
▓████▓▌ revered and controversial figures in jazz ù just as ▓▌
▓████▓▌ his employer/mentor Miles Davis was when he was ▓▌
▓████▓▌ alive. Unlike Miles, who pressed ahead relentlessly ▓▌
▓████▓▌ and never looked back until near the very end, ▓▌
▓████▓▌ Hancock has cut a zigzagging forward path, ▓▌
▓████▓▌ shuttling between almost every development in ▓▌
▓████▓▌ electronic and acoustic jazz and R&B over the last ▓▌
▓████▓▌ third of the 20th century. Though grounded in Bill ▓▌
▓████▓▌ Evans and able to absorb blues, funk, gospel, and ▓▌
▓████▓▌ even modern classical influences, Hancock's piano ▓▌
▓████▓▌ and keyboard voices are entirely his own, with ▓▌
▓████▓▌ their own urbane harmonic and complex, earthy ▓▌
▓████▓▌ rhythmic signatures ù and young pianists cop his ▓▌
▓████▓▌ licks constantly. Having studied engineering and ▓▌
▓████▓▌ professing to love gadgets and buttons, Hancock was ▓▌
▓████▓▌ perfectly suited for the electronic age; he was one ▓▌
▓████▓▌ of the earliest champions of the Rhodes electric ▓▌
▓████▓▌ piano and Hohner clavinet and would field an ▓▌
▓████▓▌ ever-growing collection of synthesizers and ▓▌
▓████▓▌ computers on his electric dates. Yet his love for ▓▌
▓████▓▌ the grand piano never waned, and despite his ▓▌
▓████▓▌ peripatetic activities all around the musical map, ▓▌
▓████▓▌ his piano style continues to evolve into tougher, ▓▌
▓████▓▌ ever-more-complex forms. He is as much at home ▓▌
▓████▓▌ trading riffs with a smoking funk band as he is ▓▌
▓████▓▌ communing with a world-class post-bop rhythm ▓▌
▓████▓▌ section ù and that drives purists on both sides of ▓▌
▓████▓▌ the fence up the wall. ▓▌
▓████▓▌ Having taken up the piano at age seven, Hancock ▓▌
▓████▓▌ quickly became known as a prodigy, soloing in the ▓▌
▓████▓▌ first movement of a Mozart piano concerto with the ▓▌
▓████▓▌ Chicago Symphony at the age of 11. After studies at ▓▌
▓████▓▌ Grinnell College, Hancock was invited by Donald ▓▌
▓████▓▌ Byrd in 1961 to join his group in New York City, ▓▌
▓████▓▌ and before long, Blue Note offered him a solo ▓▌
▓████▓▌ contract. His debut album, Takin' Off, took off ▓▌
▓████▓▌ indeed after Mongo Santamaria covered one of the ▓▌
▓████▓▌ album's songs, "Watermelon Man." In May 1963, Miles ▓▌
▓████▓▌ Davis asked him to join his band in time for the ▓▌
▓████▓▌ Seven Steps to Heaven sessions, and he remained ▓▌
▓████▓▌ there for five years, greatly influencing Miles' ▓▌
▓████▓▌ evolving direction, loosening up his own style, and ▓▌
▓████▓▌ upon Miles' suggestion, converting to the Rhodes ▓▌
▓████▓▌ electric piano. In that time span, Hancock's solo ▓▌
▓████▓▌ career also blossomed on Blue Note, pouring forth ▓▌
▓████▓▌ increasingly sophisticated compositions like ▓▌
▓████▓▌ "Maiden Voyage," "Cantaloupe Island," "Goodbye to ▓▌
▓████▓▌ Childhood," and the exquisite "Speak Like a Child." ▓▌
▓████▓▌ He also played on many East Coast recording ▓▌
▓████▓▌ sessions for producer Creed Taylor and provided a ▓▌
▓████▓▌ groundbreaking score to Michelangelo Antonioni's ▓▌
▓████▓▌ film Blow Up, which gradually led to further movie ▓▌
▓████▓▌ assignments. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Having left the Davis band in 1968, Hancock ▓▌
▓████▓▌ recorded an elegant funk album, Fat Albert Rotunda, ▓▌
▓████▓▌ and in 1969 formed a sextet that evolved into one ▓▌
▓████▓▌ of the most exciting, forward-looking jazz-rock ▓▌
▓████▓▌ groups of the era. Now deeply immersed in ▓▌
▓████▓▌ electronics, Hancock added the synthesizer of ▓▌
▓████▓▌ Patrick Gleeson to his Echoplexed, fuzz-wah-pedaled ▓▌
▓████▓▌ electric piano and clavinet, and the recordings ▓▌
▓████▓▌ became spacier and more complex rhythmically and ▓▌
▓████▓▌ structurally, creating its own corner of the ▓▌
▓████▓▌ avant-garde. By 1970, all of the musicians used ▓▌
▓████▓▌ both English and African names (Herbie's was ▓▌
▓████▓▌ Mwandishi). Alas, Hancock had to break up the band ▓▌
▓████▓▌ in 1973 when it ran out of money, and having ▓▌
▓████▓▌ studied Buddhism, he concluded that his ultimate ▓▌
▓████▓▌ goal should be to make his audiences happy. ▓▌
▓████▓▌ ▓▌
▓████▓▌ The next step, then, was a terrific funk group ▓▌
▓████▓▌ whose first album, Head Hunters, with its Sly ▓▌
▓████▓▌ Stone-influenced hit single, "Chameleon," became ▓▌
▓████▓▌ the biggest-selling jazz LP up to that time. Now ▓▌
▓████▓▌ handling all of the synthesizers himself, Hancock's ▓▌
▓████▓▌ heavily rhythmic comping often became part of the ▓▌
▓████▓▌ rhythm section, leavened by interludes of the old ▓▌
▓████▓▌ urbane harmonies. Hancock recorded several electric ▓▌
▓████▓▌ albums of mostly superior quality in the '70s, ▓▌
▓████▓▌ followed by a wrong turn into disco around the ▓▌
▓████▓▌ decade's end. In the meantime, Hancock refused to ▓▌
▓████▓▌ abandon acoustic jazz. After a one-shot reunion of ▓▌
▓████▓▌ the 1965 Miles Davis Quintet (Hancock, Ron Carter, ▓▌
▓████▓▌ Tony Williams, Wayne Shorter, with Freddie Hubbard ▓▌
▓████▓▌ sitting in for Miles) at New York's 1976 Newport ▓▌
▓████▓▌ Jazz Festival, they went on tour the following year ▓▌
▓████▓▌ as V.S.O.P. The near-universal acclaim of the ▓▌
▓████▓▌ reunions proved: that Hancock was still a whale of ▓▌
▓████▓▌ a pianist; that Miles' loose mid-'60s post-bop ▓▌
▓████▓▌ direction was far from spent; and that the time for ▓▌
▓████▓▌ a neo-traditional revival was near, finally bearing ▓▌
▓████▓▌ fruit in the '80s with Wynton Marsalis and his ilk. ▓▌
▓████▓▌ V.S.O.P. continued to hold sporadic reunions ▓▌
▓████▓▌ through 1992, though the death of the indispensable ▓▌
▓████▓▌ Williams in 1997 cast much doubt as to whether ▓▌
▓████▓▌ these gatherings would continue. ▓▌
▓████▓▌ ▓▌
▓████▓▌ Hancock continued his chameleonic ways in the '80s: ▓▌
▓████▓▌ scoring an MTV hit in 1983 with the scratch-driven, ▓▌
▓████▓▌ proto-industrial single "Rockit" (accompanied by a ▓▌
▓████▓▌ striking video); launching an exciting partnership ▓▌
▓████▓▌ with Gambian kora virtuoso Foday Musa Suso that ▓▌
▓████▓▌ culminated in the swinging 1986 live album Jazz ▓▌
▓████▓▌ Africa; doing film scores; and playing festivals ▓▌
▓████▓▌ and tours with the Marsalis brothers, George ▓▌
▓████▓▌ Benson, Michael Brecker, and many others. After his ▓▌
▓████▓▌ 1988 techno-pop album, Perfect Machine, Hancock ▓▌
▓████▓▌ left Columbia (his label since 1973), signed a ▓▌
▓████▓▌ contract with Qwest that came to virtually nothing ▓▌
▓████▓▌ (save for A Tribute to Miles in 1992), and finally ▓▌
▓████▓▌ made a deal with PolyGram in 1994 to record jazz ▓▌
▓████▓▌ for Verve and release pop albums on Mercury. Now ▓▌
▓████▓▌ well into a youthful middle age, Hancock's ▓▌
▓████▓▌ curiosity, versatility, and capacity for growth ▓▌
▓████▓▌ have shown no signs of fading, and in 1998 he ▓▌
▓████▓▌ issued Gershwin's World. ▓▌
▓████▓▌ ▓▌
░ ▓████▓▌ ▓▌
▓ ▐█████▓█ [ A B O U T . U S ] ▓▌
▀█▄▓████▓▓▄█▀ ▓▌
▀██▓██▓▓▀ Our group consists of many rippers who are music enthu- ▓▌
▀█▓▓▓▀ siasts. Justfun is releasing different kind of music like ▓▌
▀▓ indie rock, trip-hop, ethnic, jazz, french, brazilian ▓▌
░ electro and many more ... We will bring you the music ▓▌
░ we like and share it with the rest of the under- ▄ ▓▌
░ ground scene. If you have, like us, a passion for ▄▄█▌ ▓▌
░ music, don't hesitate to contact us ! ▄████▓▌ ▓▌
░ █████▀▀▀▀ ▓▌
░ GREETinGs : NuHS . Hit2000 . DGN . KSi . SEQ . CHR ░███ ▓▌
░ Om . rH . Fuffens . Remix . FMF . SB ██▌ ▓▌
Kw . LOGOS . iTs . i . ATM . aAF . ... ▓██ ▓▌
░ and all ppl who share music with us ! ▄▄▄██▌ ▓▌
▐▓ ▐░▓▓▓▓▌ ░ ░▌
▀■░▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▄▐▓░░░▓▌▄▄█▓█▄▄■▀
▄█▒████████▓▓▀ ▀▀▀▀▀ ▀▓██▓███▓▄
▄▓██▓██████▓▓█▀ [ C O N T A C T ] ▀▀▀▓██▓▌
▓█████████▓▓█▀ ▐█▄██▓▀
▐███▓██▀▀▓▀░ We're currently looking for : ██▓▓█▀▀
▓████▓▌ ░ - music enthusiast ppl buying cds on a regular basis. ▐▓▀▀
▓████▓▌ - ppl who can get promos or advanced rls. ▀ ░▌
░ ▓████▓▌ - Siteop who can provide at least 10mbits and ▓▌
▓ ▐█████▓█ 50gb++ for our archive. ▄ ▓▌
▀█▄▓████▓▓▄█▀ - People with skill and experience ▄▄█▌ ▓▌
▀██▓██▓▓▀ ... and everyone who wants to help in a ▄████▓▌ ▓▌
▀█▓▓▓▀ pleasant atmosphere our Just family. █████▀▀▀▀ ▓▌
▀▓ ░███ ▓▌
░ Share your forces with us ! ██▌ ▓▌
▌ ▓██ ▌ ▓▌
░ ▐▓ Email : jfun@hushmail.com ▄▄▄██▌ ▐▓ ▓▌
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░ ▀▓██████▓██▓▓▀ NFO and Layout proudly made in Quebec ░ ▀▓██████▓██▓▓▀
▀▓█████▓▓▓ by z0oy0rk ▀▓█████▓▓▓
▐███████▓▓▌ ▐███████▓▓▌
▓███▀ ▀▓█▓▓ [ J U S T F U N born in Apr. 2 0 0 0 ] ▓███▀ ▀▓█▓▓
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